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From Country to Nation , livre ebook

Cornell University Press - Gideon Fujiwara

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From Country to Nation tracks the emergence of the modern Japanese nation in the nineteenth century through the history of some of its local aspirants. It explores how kokugaku (Japan studies) scholars envisioned their place within Japan and the globe, while living in a castle town and domain far north of the political capital. Gideon Fujiwara follows the story of Hirao Rosen and fellow scholars in the northeastern domain of Tsugaru. On discovering a newly "opened" Japan facing the dominant Western powers and a defeated Qing China, Rosen and other Tsugaru intellectuals embraced kokugaku to secure a place for their local "country" within the broader nation and to reorient their native Tsugaru within the spiritual landscape of an Imperial Japan protected by the gods. Although Rosen and his fellows celebrated the rise of Imperial Japan, their resistance to the Western influence and modernity embraced by the Meiji state ultimately resulted in their own disorientation and estrangement. By analyzing their writings-treatises, travelogues, letters, poetry, liturgies, and diaries-alongside their artwork, Fujiwara reveals how this socially diverse group of scholars experienced the Meiji Restoration from the peripheries. Using compelling firsthand accounts, Fujiwara tells the story of the rise of modern Japan, from the perspective of local intellectuals who envisioned their local "country" within a nation that emerged as an empire of the modern world.

Sujets

Histoire

Nationalism

History of Asia

Japan

Informations

Publié par	Cornell University Press
Date de parution	15 mai 2021
Nombre de lectures	0
EAN13	9781501753954
Langue	English
Poids de l'ouvrage	5 Mo

Informations légales : prix de location à la page 0,7500€. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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FROMCOUNTRYTONATION

FROMCOUNTRYTO NATION

E t hnogra phi c Studi e s ,Ko kuga kund, a Spi r i t s i n Ni ne t e e nt h- Ce ntur y J a pa n

G i d e o n F u j i w a r a

CORNELLEASTASIASERIESAN IMPRINT OF CORNELLUNIVERSITYPRESSIthaca and London

Number 204 in the Cornell East Asia Series

All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing f rom the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850. Visit our website at cornellpress.cornell.edu.

First published 2021 by Cornell University Press

Printed in the United States of America

Librarians: A Cataloging-in-Publication record is available f rom the Library of Congress.

ISBN 978-1-5017-5393-0 (hard cover) ISBN 978-1-5017-5394-7 (epub) ISBN 978-1-5017-5395-4 (pdf )

Tsugaru Customs Painting Scroll(Tsugaru fūzokuga maki) by Satō Senshi. Private collection.

Contents

List of Tables and Figuresvii Acknowledgments ix Explanatory Notesxi

Introduction1 1. Seeing the “Country” of Tsugaru in Northeastern Japan13 2. Visions of Japan and Other “Countries” in the World46 3.HirataKokugakuand the National Network68 4. The Academy and the Tsugaru Disciples97 5. Locating Tsugaru within Sacred Japan123 6. Sacred Mountain, Landscape, and Afterlife151 7. Supporting the Restoration in War and Ritual172 8. Modern Society and the Tsugaru Disciples199 Conclusion:Ethnography,Kokugaku, and Community in Modern Japan229

Appendix239 Selected List of Characters241 Bibliography 253 Index269

Ta b l e s a n d F i g u r e s

Table 1. List of Hirata Disciples in Tsugaru

Figures Cover ImageTsugaru Customs Painting Scroll(Tsugaru fūzokuga makiby)atSSeōihsnrP.taviocellection.Digital data courtesy of Aomori Prefectural Museum.1.1. Map: Early Modern Japan and Hirosaki1.2. Map: Hirosaki domain1.3. Hirosaki castle1.4. Hirao Rosen portrait (Private collection)1.5. Tsuruya Ariyo portrait (Gappo sharimoishi)1.6. “Nebuta image” (Tsugaru Customs Painting Scroll)1.7. “Mount Iwaki worship image” (Private collection)1.8. “Sled pulling image” (Tsugaru Customs Painting Scroll)1.9. “Winter work and tools image” (Tsugaru Customs Painting Scroll)2.1. “Steamship” (Taihei shinwa)2.2. Map: Rosen’s Visit to Ezo2.3. “Matsumae Harbor image” (Hakodate kikō)2.4. “Official” “Minor official” (Yōi meiwa)2.5. “Guangdong officials image” (Hakodate kikō)2.6. “Mochi-pounding in the twelfth month” (Hakodate kikō)4.1. Kanehira Kiryō image (Gappo sharimoishi)4.2. Turtles by Kanehira Kiryō5.1. “Thunder beast image, Aki province” (Yūfu shinron)6.1. Mount Iwaki

240

15 16 17 29 36 41 43 44

45 48 51 54 58 60

64 105 106 148 153

vii

viiiTABLES AND FI GURES

6.2. 6.3. 7.1.

8.1.

9.1.

Torii gate, Iwakiyama ShrineIwakiyama ShrineShōkonsaieys-d’irb;margaidweiv-e (Ono Wakasa letter).StonemonumentshonoringTsuruyaAriyoand Hirao Rosen, Tenmangū Shrine, Nishi Shigemori, HirosakiNeputa festival, Hirosaki, August 2011

153 154

194

226 230

A c k n o w l e d g m e nt s

I am grateful to everyone who supported me in writing this book. Peter Nosco inspired, then supervised, my studies of kokugakuand taught me to think for myself. He guided me at each stage as I wrote this book. Nam-lin Hur taught me Japanese history and the joy of grap-pling with primary sources. Kojima Yasunori introduced me to Hirao Rosen and helped me navigate the “country” of Tsugaru. Anne Walthall shared her insights on Hiratakokugakuand reviewed two versions of this book. Hasegawa Seiichi advised me on early modern history while hosting me at Hirosaki Uni-versity. Helen Hardacre imparted knowledge of Shinto and Japanese religion, while John Bentley refined my readings of poetry and texts. My thanks to Miyachi Masato for teaching me about Hiratakokugakuand late-Tokugawa history, and to Endō Jun, Yoshida Asako, Matsumoto Hisashi, Kate Wildman Nakai, Nakagawa Kazuaki, and Kumazawa Eriko who shared their invaluable knowledge at the monthly Hiratakenkyūkai hosted by the Hirata Shrine. Commuting between Hirosaki and Tokyo by midnight bus, I felt the power of scholarly networks. Kitahara Kanako, Namikawa Kenji, Watanabe Mariko, Honda Shin, Fukui Toshitaka, and Sato Akira generously supported my studies of Hirosaki. For permission to use their precious docu-ments and artwork, I thank the Hirosaki City Public Library, Hirosaki City Museum, Aomori Prefectural Museum, and Aomori Prefectural Library. I thank the owners of Hirao Rosen’s and his disciples’ artwork for permission to use their images. From my MA years studying Japanese Intellectual History at Tohoku University, I have been guided by Sato Hiroo and encouraged by Kirihara Kenshin, Motomura Masafumi, Okawa Makoto, Suzuki Hirotaka, and Naka-jima Eisuke. Since my PhD program in Asian Studies at the University of British Columbia, I am indebted to Harjot Oberoi, William Wray, Sharalyn Orbaugh, Joshua Mostow, Christina Laffin, Jessica Main, Chris Rea, David Edgington, Eric Vatikiotis-Bateson, Glen Peterson, Nathen Clerici, Eiji Okawa, Robban Toleno, Jeff rey Newmark, Oleg Benesch, Ben Whaley, and Weiting Guo. I have learned much f rom Luke Roberts, David Howell, Bettina

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